Color Palette Research Articles

Фольклорная символика рассказа И. Бунина «Ворон»

The article is devoted to a poetical analysis of Ivan Bunin’s short story “The Raven” (1944), which is a part of the cycle of short stories about love “Dark Alleys”. The research is undertaken in order to comprehend the role of folklore in the formation of the poetic world of Bunin’s love story, to identify the emotional and aesthetic perspectives of the images, motifs, and the central conflict of the short story, which is contextually conditioned and mediated by folklore symbols. The research is novel in that it is the first to analyze in detail the short story “The Raven”, its character system (images of the father, the son, the daughter, Elena Nikolaevna) and to identify the most important folklore components of the central conflict of the story (a love conflict). As a result, it is shown that the active involvement of folklore symbols (the folklorized concept “The Raven”, a color palette of folklore), which were close and understandable to the Parisian community of Russian emigrants, allowed Bunin (who adhered to national traditions, including folklore ones) to bring additional poetic intentions into the text of the shott story, imbued with imagery familiar from childhood and bright fairy-tale emotionality, to bring the perception of the text created in exile closer to the nostalgic memory of the abandoned homeland of Russia.

An end-to-end workflow for nondestructive 3D pathology.

Recent advances in 3D pathology offer the ability to image orders of magnitude more tissue than conventional pathology methods while also providing a volumetric context that is not achievable with 2D tissue sections, and all without requiring destructive tissue sectioning. Generating high-quality 3D pathology datasets on a consistent basis, however, is not trivial and requires careful attention to a series of details during tissue preparation, imaging and initial data processing, as well as iterative optimization of the entire process. Here, we provide an end-to-end procedure covering all aspects of a 3D pathology workflow (using light-sheet microscopy as an illustrative imaging platform) with sufficient detail to perform well-controlled preclinical and clinical studies. Although 3D pathology is compatible with diverse staining protocols and computationally generated color palettes for visual analysis, this protocol focuses on the use of a fluorescent analog of hematoxylin and eosin, which remains the most common stain used for gold-standard pathological reports. We present our guidelines for a broad range of end users (e.g., biologists, clinical researchers and engineers) in a simple format. The end-to-end workflow requires 3-6 d to complete, bearing in mind that data analysis may take longer.

Engineering of Diffuse Structural Colors

AbstractNowadays, structural colors successfully replace pigment‐based ones. Most of the newly proposed solutions rely on plasmonic systems, so speaking nanosized objects, exhibiting strongly size‐dependent optical properties. As a consequence, the fabrication requires high‐precision and time‐consuming technologies. A concept dealing with sub‐micronic surface features, easily reproducible on a large scale is proposed. The designed metasurface consists of randomly distributed holes serving both as cavity resonators and scatterers. The proposed solution grants an efficient control of the spatial distribution of diffuse light and offers a large palette of vibrant colors. The interferometric model and a two‐layer angular spectrum method provide a solid description of the physical origin of the phenomenon, with a high degree of agreement between simulations and experimental data.

The Dependence on Hue, Value and Opacity of Real-Time- and Post-Curing Light Transmission in a Nano-Hybrid Ormocer.

This study aims to quantify the influence of hue, value and opacity on the variation in light transmittance of a full color palette of an ormocer-based dental composite. Samples with a thickness of 2 mm were cured in real time while the incident irradiance and light transmittance were recorded with a spectrophotometer, either in real time during the polymerization or through the polymerized composite at different exposure distances. Across the entire shade range, light attenuation was high, varying between 70.3% and 92.1%. The light transmittance during polymerization increased exponentially with exposure time in all shades. The differences between the cured and uncured composites decrease with increasing value and with increasing opacity within a value. The pattern of variation in light transmittance with increasing value is non-linear and depends on the hue, but not on the opacity within a hue. Small variations in value in lighter shades of hue B reduce the transmitted light more than in hue A, while the opposite is true for darker shades. The results strongly suggest an adequate curing of the lower increments in larger restorations, as the additional light expected from curing the upper increments is very small, regardless of hue, value or opacity. An additional unfavorable condition by increasing the exposure distance consistently contributes to a reduction in light transmission and thus further supports the above statement.

Silk‐Based Functional Inks with Color‐Tunable Light Upconversion for Printing on Arbitrary Surfaces

AbstractA biocompatible and versatile silk‐based functional ink with hydrophilic upconversion nanoparticles (UCNPs) that can be printed or painted on arbitrary substrates, including biological surfaces is demonstrated. Hydrophilic UCNPs, ready to be dispersed in aqueous silk fibroin solution, are synthesized in large quantities via facile hydrothermal synthesis using citric acid. Based on a systematic study of dopant control to achieve robust red emission from citrate‐capped UCNPs, three primary colors are obtained, which serve as the basis for the expansion of the color palette. The synthesized UCNPs are homogeneously dispersed in regenerated silk fibroin solutions derived from Bombyx mori cocoons to produce water‐based functional inks. Cyan, magenta, and yellow (CMY) inks are created by combining red, green, and blue (RGB) inks. Demonstrator devices, where a variety of colorful patterns and codes are revealed only under near‐infrared irradiation, are realized through stencil printing or brush painting on flexible polymer films, fruit, leaves, silkworm cocoons, and pig skin. The patterns and codes are highly heat resistant (≈230 °C) and can be easily washed off with water after use. The printable/paintable inks and functions proposed here will provide new opportunities for applications where sustainability, biocompatibility, and intentional luminescence are simultaneously required.

Politics of extractivism, grassroot justice and crude

ABSTRACT Oil evokes a range of emotions, from the promise of prosperity to the reality of environmental degradation and corporate greed. A growing number of graphic narratives (such as Gasoline Dreams) are exploring the ‘cruel optimism,’ to use Lauren Berlant’s term, of oil. Crude: A Memoir is one such graphic narrative that through the memories of Pablo Fajardo exposes the intricate networks of extraction, the paraphernalia of the corporation-state nexus, and the contradictions of petromodernity through the use of visual storytelling techniques such as point of view, focalisation, and colour palette. This graphic narrative solicits an empathetic response from its readers by revealing the ethical and affective aspects of this environmental disaster. Drawing insights from energy humanities and comics studies, this article, through the close reading of Crude: A Memoir, investigates the toxicities of oil-modernity, the role of state infrastructure, and the global matrixes of power. Put together, Crude performs a kind of grassroot justice in that the memoir names the abusers who seem to be immune to justice, shows the plight of the Indigenous ‘collateral damage’ and the environmental degradation that result when legal protections are not afforded to those most vulnerable (including human, plant, animal, water, and mineral entities).

The Colors in Medieval Illuminations through the Magnificent Scriptorium of Alfonso X, the Learned

This pioneering work studied the medieval color palette of four manuscripts produced in the scriptorium of Alfonso X, king of the Crown of Castile (r. 1252-84), including the Songs of Holy Mary (Cantigas de Santa Maria, in Rich Codex and Musicians’ Codex), Lapidary (Lapidario), and Book of Games (Libro de los juegos). Scientific analysis based on fiber-optics reflectance spectroscopy in the visible and Raman spectroscopy showed a color palette based on lapis lazuli, indigo, azurite, vermilion, red lead, orpiment, yellow ochre, two different greens (bottle green and vergaut), lead white, carbon-based black, and most importantly, brazilwood pinks, reds, and purples. So, it is now the first reported use of this lake pigment in European medieval manuscript illumination. The painting technique is also discussed. The diversity of colors and techniques, with the presence of lapis lazuli, brazilwood lake pigments, purple, and gold, demonstrates Alfonso X’s desire to produce sumptuous manuscripts.

Electropolymerized thiophene-based polymer with pure donor system enable magenta-to-transmissive electrochromic-supercapacitor bifunctional material

Developing electropolymerized magenta-to-transmissive electrochromic polymers is crucial in completing the CMY color palette. In this paper, three pure donor-type monomers (E3TE, Q3TQ and pro3Tpro) with various degrees of twisting blocks as peripheral electropolymerization units (EDOT/Prodot-Me2/proDot) and terthiophene (3T) as the central nucleus have been synthesized. Moreover, the corresponding polymers (pE3TE, pQ3TQ) were prepared via electropolymerization successfully. The electrochemical and electrochromic properties of both polymers were systematically investigated. Introducing the 3, 4-propylenedioxythiophene into 3T yields pQ3TQ with heightened degrees of twisting along the polymer backbone, slightly increasing the onsets of oxidation and blue-shifting the absorption precisely. The neutral polymer colors were fine-tunable from purple to magenta while maintaining transmissive oxidized states from pE3TE to pQ3TQ. The pQ3TQ has low oxidation potential (less than 1 V (E vs Ag/AgCl)), fast-switching time (0.63 s/0.29 s at 531 nm), reasonable optical contrast (31.9 % at 531 nm), good optical memory, excellent coloring efficiency (479.9 cm2/C), robust cycle stability (600 cycles) and large area specific capacitance (2.47 mF/cm2). This work provides a novel strategy to precisely disrupt planarity to obtain available color adjustment of electropolymerized polymer films and also provides an electrochromic-supercapacitor bifunctional material.

Edit propagation via color palettes

The ability to ease operation and real-time feedback to image editing has attracted increasing attention in our everyday lives. Existing edit propagation approaches typically formulate the color editing task as a quadratic energy optimization problem, which is computationally expensive and requires a lot of user interactions. To address this problem, in this paper, we propose a novel edit propagation method based on color palette. We first extract a color palette from the input image, and then calculate the mixing weights of the image pixels with respect to the extracted palette. Finally, we solve for an edited palette according to user edits, to propagate local edits to the whole image. Our main contributions include formulating the edit propagation as a palette-based optimization problem that can be solved efficiently, and requiring only fewer user interactions than existing methods. We have demonstrated our method for color editing on a wide range of examples. Compared to existing methods, our approach is more efficient and friendly for novice users due to its ease of interaction.

Color sorting and color term evolution.

When participants sort color samples into piles, Boster showed that their color groupings can resemble the "stages" of Kay & McDaniel's model of color term evolution. Boster concluded that both the unfolding of color piles in a sequential color sorting task and the unfolding of color terms according to Kay & McDaniel's model reveal how human beings understand color. If this is correct, then: (1) pile sorts should be reasonably robust across variations in the palette of colors to be sorted, as long as the palette contains good examples of Berlin & Kay's universal color categories, and (2) pile-sorting should be more related to lexical effects and less related to perceptual processes governed by similarity judgments alone. We report three studies on English speakers and Somali speakers (Study 1 only), where participants sorted colors into 2…6 piles. The three studies used varying numbers of palette colors (25, 30, or 145 colors) and varying chromaticity schemes (mainly hue, widely-separated in hue and lightness, or densely distributed at high chroma). We compared human sorting behavior to Kay & McDaniel's model and to the "optimal" patterns of color sorting predicted by Regier's well-formedness statistic, which quantifies the perceived similarity between colors. Neither hypothesis is confirmed by the results of our studies. Thus, we propose that color sorts are determined by pragmatic influences based on heuristics that are inspired by the palette of colors that are available and the task that the viewer is asked to perform.

Digital visualization in graduate transport phenomena

AbstractThe use of contour flood plots and color digital movies is investigated for teaching fluid mechanics, heat transfer, and mass transfer at the first‐year graduate student level. The color visualizations are intended to not only stimulate curiosity but also encourage enthusiasm and determination in learning difficult material. Although there is a significant amount of finite‐difference material, the focus is on analytical solutions. In particular, the mathematical problems involve error functions and Fourier series, which generally prove uninteresting and unpopular. Students are encouraged to produce the visualizations themselves, in addition to being provided with digital results in various forms. Excel can be used to generate both the analytical and finite difference calculations, but Python or another computer language can be employed. While software, such as Matplotlib with Python, Gnuplot, or Tecplot, can create excellent contour flood plots, results from Excel are also good, and Powerpoint will produce movies from individual frames. Student response is positive, although quantifying their reaction is difficult based on the small class sizes. Not surprisingly, the use of color appeals to students and adds to their interest. In addition, students claim increased understanding with contour plots and movies, but the visualizations should be used in conjunction with more traditional graphs, perhaps augmented with consistent use of color. However, the impact on motivation due to color presentation is harder to establish. Interestingly, both graduate and senior undergraduate students showed about equal preference for the rainbow and viridis color palettes.

Time-of-day perception in paintings.

The spectral shape, irradiance, direction, and diffuseness of daylight vary regularly throughout the day. The variations in illumination and their effect on the light reflected from objects may in turn provide visual information as to the time of day. We suggest that artists' color choices for paintings of outdoor scenes might convey this information and that therefore the time of day might be decoded from the colors of paintings. Here we investigate whether human viewers' estimates of the depicted time of day in paintings correlate with their image statistics, specifically chromaticity and luminance variations. We tested time-of-day perception in 17th- to 20th-century Western European paintings via two online rating experiments. In Experiment 1, viewers' ratings from seven time choices varied significantly and largely consistently across paintings but with some ambiguity between morning and evening depictions. Analysis of the relationship between image statistics and ratings revealed correlations with the perceived time of day: higher "morningness" ratings associated with higher brightness, contrast, and saturation and darker yellow/brighter blue hues; "eveningness" with lower brightness, contrast, and saturation and darker blue/brighter yellow hues. Multiple linear regressions of extracted principal components yielded a predictive model that explained 76% of the variance in time-of-day perception. In Experiment 2, viewers rated paintings as morning or evening only; rating distributions differed significantly across paintings, and image statistics predicted people's perceptions. These results suggest that artists used different color palettes and patterns to depict different times of day, and the human visual system holds consistent assumptions about the variation of natural light depicted in paintings.

Mixing Linters with GUIs: A Color Palette Design Probe.

Visualization linters are end-user facing evaluators that automatically identify potential chart issues. These spell-checker like systems offer a blend of interpretability and customization that is not found in other forms of automated assistance. However, existing linters do not model context and have primarily targeted users who do not need assistance, resulting in obvious-even annoying-advice. We investigate these issues within the domain of color palette design, which serves as a microcosm of visualization design concerns. We contribute a GUI-based color palette linter as a design probe that covers perception, accessibility, context, and other design criteria, and use it to explore visual explanations, integrated fixes, and user defined linting rules. Through a formative interview study and theory-driven analysis, we find that linters can be meaningfully integrated into graphical contexts thereby addressing many of their core issues. We discuss implications for integrating linters into visualization tools, developing improved assertion languages, and supporting end-user tunable advice-all laying the groundwork for more effective visualization linters in any context.

A study on the analysis and understanding of art works based on graph neural networks

Abstract With the development of the Internet, many art works are uploaded for people to enjoy. To make it more convenient for viewers to understand and analyze the content of art works. In this paper, we use the GNN graph neural network analysis model to extract the art style, creation period, color expression and other features of the works through the work feature saliency attention module, and classify them using the similarity metric. At the same time, we put forward the GNNMMVisRe model to explore the works from the visual multimodality. The analysis results concluded that the Impressionist style of art works had its heyday in the 18th-19th centuries, when the number of works reached 11,674. The Baroque classicism style reached its heyday in the mid-18th century with 5,921 pieces. In terms of color use, low saturation and low luminance color palettes were selected, with average values of 81.3% and 83.4%, respectively. Using the GNN model to categorize, analyze and study the art works improves the understanding and appreciation of the works. It is also significant for the further development of art.

ПИРОТЕХНИЧЕСКИЕ СОСТАВЫ КРАСНО-СИНЕЙ ЦВЕТОВОЙ ГАММЫ

In civil pyrotechnics, great priority in the development of pyrotechnic compositions is given to fireworks compositions. Along with the main subjective characteristics of any fireworks display - colorfulness and entertainment, the variety of colors is important. Classically, the primary colors used in such pyrotechnic products are red, yellow, green and blue. However, the color palette of fireworks compositions is much wider and new color solutions are required to increase the entertainment value of firework displays. Of particular interest is the development of pyrotechnic compositions in the field of transitional colors. The most spectacular, and therefore the most popular and expensive, are fireworks of purple and violet shades, representing the red-blue color scheme: lilac, purple, violet. Currently, more than forty formulations of pyrotechnic compositions are known, which, when burned, formed flames of these shades. All these compositions are developed on the basis of the composition of red fire with the introduction of an additive that colors the flame blue. Using the example of the composition of lilac fire, the work shows the possibility of obtaining pyrotechnic tribes of transitional colors by mixing pyrotechnic compositions having different emission spectra. A new technology for these compositions has been proposed by rolling followed by molding by continuous pressing. It has been shown that the main color characteristics of compositions prepared using the new technology are not inferior to compositions processed using traditional powder technology. It has been established that the color characteristics of the flame obey the basic laws of mixing monochromatic radiation. The presented results of research into pyrotechnic compositions of red and blue colors based on cellulose nitrates, a copolymer of polyvinyl chloride with vinylacetate, as well as ammonium perchlorate, produced by blind and through pressing methods, can contribute to a significant expansion of the color range of pyrotechnic compositions, unification of technologies and reduction in the cost of fireworks.

Research on Affective Ergonomics of User Preferences towards Train Compartment Design

Trains as public transportation have experienced quite significant passenger growth. One type of train that has just been developed is a compartment, a room to maintain passenger’s privacy during the trip. However, train design needs to pay more attention to passenger preferences. Uncovering this can be done using the Kansei Engineering method, which has successfully increased the value of products such as cars and others. Previously, research had been carried out with the results of favorite compartment designs with a minimalist theme, green color palette, decorative painting, glossy, and dominant wood motif finishing. However, this research has not addressed the affective side’s influence on design specifications more deeply. The research objective is to determine train compartment interior design specifications that suit user preferences and respondent clustering. This research will be carried out using a questionnaire with a semantic differential scale, which is tested using Principal Component Analysis (PCA) and Cluster Analysis. The research results show that user preferences influence the interior design specifications of the compartment and the favorite design samples chosen by most respondents. The results of this research can be a reference for train manufacturers and the general public.

Invertible Secret Image Sharing with Authentication for Embedding Color Palette Image into True Color Image

Invertible Secret Image Sharing with Authentication for Embedding Color Palette Image into True Color Image

Refining Color Scheme Generation: Iterative K-Means Clustering and ARI Evaluation

Color goes beyond mere visual sensation, holding profound sway over emotions, thoughts, and perceptions. It communicates, evokes moods, and significantly influences judgments. Research underscores its importance, with up to 90% of product assessments being based solely on color, highlighting its pivotal role in crafting memorable experiences and defining brand identities. The fusion of art and technology presents a captivating synergy within the realm of image-derived color schemes. Color palette generation from images is pivotal in graphic design, interior decoration, and digital media. This study delves into methodologies for extracting dominant colors from images and generating cohesive color schemes. Leveraging K-Means clustering with the Within-Cluster Sum of Squares (WCSS) method, we showcase superior performance compared to traditional approaches. The evaluation of palette coherence using the Adjusted Rand Index (ARI) facilitates consistency within the generated color schemes. Integrating methodologies with design tools and advanced color harmonies opens avenues for further innovation and customization. This study underscores the transformative potential of image-based color scheme generation, bridging the gap between computational analysis and creative expression. Through the convergence of artistry and technological prowess, we aim to enhance the design landscape and enrich user experiences across various applications and industries.

A Study of Color Palettes and Painting Techniques of Prayat Pongdam: Oil on Board Painting “Cats and Birds (1957)” Using Micro-XRF Scanning Technique

This work presents the characterization of the pigments in the painting by Prayat Pongdam, one of the most essential artists in the history of Thai contemporary art. The painting that was studied is named “Cats and Birds (1957),” oil on board, from the collection of a private collector. XRF measurements were carried out utilizing a portable system and mapping scanning. XRF revealed substantial information about the pigments in the painting and the artist’s technique. Lead white (Pb) was presented in or near the ground layer. A mixture of barium (Ba) and titanium (Ti) was applied in almost all areas but less in the blue areas, presumably because these two pigments were used on top of the ground layer. Zinc (Zn) white was mixed with the cerulean blue (Co, Sn) for the blue regions. Chromium-based green (Cr) and red ochre (Fe) were in the palette in green and red areas, respectively. A layer of gold was applied to some areas, assuming the artist wanted to make it a highlight. Metallic pigments containing copper (Cu) were also revealed.

Przemiany ikonograficzne w kulcie Santa Muerte (Świętej Śmierci). Analiza wybranych przykładów

The article explores the transformations in the image of the most popular Mexican folk saint, Santa Muerte (Saint Death). Based on photographic documentation and in-depth interviews conducted during field research in Mexico in 2022 and 2023, an analysis of iconographic changes has been carried out, particularly evident in the case of Santa Muerte figurines. By examining the most widespread variants of figurines available in devotional and esoteric product shops, one can observe the influence of Afro-Caribbean beliefs, pre-Columbian heritage, medieval and baroque aesthetics, as well as local folklore and popular culture, which directly shape the iconographic sphere of Santa Muerte’s cult. Examples include the color palette and manner of decorating the figurines, the saint’s attributes, and offerings. The article illustrates how current iconographic transformations reflect changes in beliefs, rituals, and perceptions of Santa Muerte both among her followers and those outside this community.